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    Recycled Materials Draw Attention to Ocean Plastics in Ana Brecevic’s Assemblages

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    All images courtesy of Ana Brecevic, shared with permission

    Recycled Materials Draw Attention to Ocean Plastics in Ana Brecevic’s Assemblages

    May 14, 2025

    ArtClimateNature

    Kate Mothes

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    As the climate crisis worsens around the globe, its effects are no more apparent than in our oceans and the communities that rely on them. Delicate coral reefs, for example, face stresses from not only rising sea temperatures but the residue of human presence—plastics, castoff fishing equipment, and other waste.

    Warm water is typically the culprit in coral bleaching events, characterized by algae leaving the organisms and turning them a ghostly white. The algae provides a food source and helps to protect the coral from disease, but when it goes, the host is left much more vulnerable. For Ana Brecevic (previously), this phenomenon inspires work that draws attention to this urgent issue.

    Her recent series, Plasticum, reflects on the ever-growing problem of plastic pollution in the earth’s oceans while contrasting the beauty of marine ecosystems with their vulnerability to human impact. The artist meticulously cuts silhouettes of bleached corals and gorgonians—also known as sea fans—and ornaments them with baubles reminiscent of debris.

    “I live along the Atlantic coast, where I collect marine waste that inspires and feeds into this body of work,” Brecevic says. “Everything is made from recycled paper, upcycled fabrics, and natural dyes.”

    The artist describes Plasticum as “a quiet echo of a reality slowly settling in,” where microplastics and waste continually threaten underwater habitats and biodiversity. She says, “Through this work, I hope to spark questions about our connection to living ecosystems and what we choose to see—or overlook.”

    Find more on Brecevic’s website and Instagram.

    Photo by Marion Saupin

    Photo by Marion Saupin

    Photo by Marion Saupin

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    • 125 Shares187 Views

      in Art

      An Uncanny Postcard Fit for the Era of Climate Catastrophe

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      From left: Sunset, Cyanometer, and Air Pollution postcards

      An Uncanny Postcard Fit for the Era of Climate Catastrophe

      May 7, 2025

      ArtClimateDesignNature

      Grace Ebert

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      Depending on the day, you might look to the sky and see a sea of pale blue or a radiant sunset creeping toward the horizon. If you’re in a major metropolitan area, though, you might also be met with the characteristic red-brown haze of smog.

      Berlin-based artist Macarena Ruiz-Tagle is behind the vibrant Cyanometer and Sunset postcards we’ve featured on Colossal (and that have sold out in our shop several times). But she also created a third version designed for those not-so-bright days.

      Tiananmen Square, Beijing (November 2013). Photo by Macarena Ruiz-Tagle

      The World Health Organization estimates that 99 percent of people on Earth breathe unsafe air, making Ruiz-Tagle’s Air Pollution postcard perhaps the most fitting for our era of climate catastrophe. While a stark contrast to the brilliant blues, yellows, and oranges of the other two, this design is awash in pale pinks and grays to match that of a gloomy, and even soiled, atmosphere. Like the others, the idea is to hold the work up to the sky and mark the corresponding hue before dropping it in the mail.

      The interactive card shifts in meaning depending on whether the opening reveals a misty fog or air thick with chemicals, and it’s part of a growing movement to track climate data in a tangible, grassroots manner. “Separating the visual delight of being immersed in a cloud from the intoxicating reality of breathing heavily polluted air, the postcard evokes both the smog that engulfs global cities and the ethereal beauty of fog,” the artist writes. “In its mesmerizing aesthetic ambiguity, the work sustains a space for contemplation within our troubled atmosphere.”

      Find all three postcards in the Colossal Shop, and explore more of Ruiz-Tagle’s work on her website.

      Air Pollution postcard

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    • 125 Shares189 Views

      in Art

      Delicate Ecosystems Converge in Sonja Peterson’s Intricate Cut Paper Compositions

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      Detail of “Empire Builder.” All images courtesy of Sonja Peterson, shared with permission

      Delicate Ecosystems Converge in Sonja Peterson’s Intricate Cut Paper Compositions

      March 25, 2025

      ArtClimate

      Kate Mothes

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      Inspired by nature’s myriad forms and relationships, Minneapolis-based artist Sonja Peterson creates sprawling scenes from intricately cut paper. Working intuitively while focusing on the environment and our place within it, she merges organic motifs and animals with humans and historical references.

      The inherent simplicity of a blank piece of paper is a compelling attribute for Peterson, who is fascinated by the possibilities of texture, pattern, and the relationship between positive and negative space. Originally, the artist made drawings on large sheets, which she began to cut into in order to rearrange compositional elements. She became increasingly interested in the art of the incision and removed other media altogether.

      “Lost and Searching”

      “My choice of paper echoes the idea of the fragility that I want to convey as I look at the precariousness of ecological systems,” Peterson tells Colossal. “The works’ structural integrity is, at times, reliant on its interconnectivity; if elements disconnect, the entire system is in threat of collapsing.”

      An overarching theme in Peterson’s work revolves around interconnection—both natural and human-made—highlighting how our global trade systems, manufacturing, and agriculture are fundamentally reliant on our environment, even as they contribute to an ever-growing climate crisis. She often combines human interactions with botanical details, like a sunken ship in “Lost and Searching” or the salient history of European colonialist expansion in “Empire Builder.”

      The artist is interested in our “global systems as something of untamed wonder, a gaze that was once reserved for the natural world,” she says. She often juxtaposes botanical details with human-made structures, such as ships or buildings. “Nature is now often seen as contained patchwork or a constructed binary to a technological world that is now the wild frontier.”

      Peterson’s work is currently on view in Nordic Echoes — Tradition in Contemporary Art at Scandinavia House, which runs from April 5 to August 2 in New York City. The show celebrates contemporary folk arts from the Upper Midwest, featuring more than 50 works by 24 artists. Find more on the Peterson’s website and Instagram.

      “The Undergound Plot of the Royal Pommes Frites,” cut paper and acrylic on wallpaper, approximately 72 x 50 inches

      Detail of “The Undergound Plot of the Royal Pommes Frites”

      Detail of “Lost and Searching,” cut paper and acrylic on wall, 114 x 50 inches

      “Empire Builder” (2022), hand-cut paper and acrylic on wall, 106 x 64 inches

      “Ghost Ship Part 1” (2022), cut paper, 112 x 50 inches. All images courtesy of Sonja Peterson, shared with permission

      “Inferno Seeks Shelter.” Photo by E. G. Schempf

      “Layered Losses,” hand-cut paper, 50 x 58 inches

      Detail of “Lost and Searching”

      Installing “Navigator,” cut paper. Photo by Jennifer Phelps

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    • 150 Shares169 Views

      in Art

      Vintage Postcard Paintings by David Opdyke Demonstrate an Ecological Future in Peril

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      “Overlook” (2025). gouache, acrylic, ink, and 42 vintage postcards
      on panel, 32 x 40 inches. All images courtesy of the artist and Cristin Tierney Gallery, shared with permission

      Vintage Postcard Paintings by David Opdyke Demonstrate an Ecological Future in Peril

      March 19, 2025

      ArtClimate

      Kate Mothes

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      The first known postcard printed as a souvenir can be traced to Vienna in 1871, followed by commemorative cards for famous events like the completion of the Eiffel Tower in 1889 and the Chicago World’s Fair in 1893. It wasn’t long before a fashion for picture postcards took the U.S. by storm throughout the first half of the 20th century.

      For David Opdyke, the iconic correspondences form the groundwork for an artistic practice examining capitalism, globalization, consumerism, and our fraught and increasingly disconnected relationship with the environment. Occasionally darkly humorous yet steeped in a sense of foreboding, his uncanny scenes suggest what kind of world we might live in we do nothing to stem the mounting climate crisis.

      “Charismatic Megafauna” (2024), gouache and ink on vintage postcard, 4 x 6 inches

      Opdyke summons idyllic coastlines, national parks, government monuments, wildlife, and civic infrastructure to weave “fractured yet cohesive topographies,” says Cristin Tierney Gallery, which is presenting the artist’s current solo exhibition, Waiting for the Future.

      For nearly a decade, Opdyke has invoked the nostalgia of landscape postcards to interrogate the climate emergency within the context of American politics and geographies. “Through these carefully altered compositions, Opdyke merges the past and the future, presenting both urgent and inevitable visions of environmental upheaval,” the gallery says.

      The artist often uses antique cards that he purchases on eBay, painting scenes of environmental disasters or discordances between nature and architecture. Alternating between cartoons and life-like portrayals of trees, animals, fires, and structures, his compositions range from single cards to wall-spanning assemblages, his gouache-painted details spreading from frame to frame.

      In “Overlook,” for example, giant tentacles destroy bridges, rising sea water threatens cities, and huge fires rage in institutional buildings. A dome encloses a metropolis, a rocket named Mars 2 heads for a new home in the solar system, and an airplane banner advertises “Technology Will Save Us” in a bleak yet not unimaginable reality fueled by techno-utopianism.

      “Enough of Nature” (2025), gouache, acrylic, and ink on 500 vintage postcards, 104 x 168 inches

      In his large-scale “Enough of Nature,” Opdyke transforms natural landscapes into encampment sites for those displaced from their homes, and portions of the overall composition appear to dislodge from the main grid as if floating away.

      Caught tenuously between outmoded industrial practices, shifting societal value systems, and a rapidly evolving climate crisis, Opdyke’s pieces point to once-idealized symbols of American progress to stress the dangers of ignoring our own impact on the environment.

      Waiting for the Future underscores the precariousness of complacency, a “cautionary tale,” the gallery says, laying bare the fragility of our constructed environment.

      The show continues through April 26 in New York City. Find more on the artist’s website.

      Detail of “Overlook”

      “Main Stage” (2015-2020), gouache on vintage postcard, 6 x 4 inches

      “Unity, Industry, Victory” (2024), gouache and ink on vintage postcard, 6 x 4 inches

      “Insurrection” (2015-2020), gouache on vintage postcard, 4 x 6 inches

      “Fourth Wall” (2015-2020), gouache on vintage postcard, 4 x 6 inches

      “If you can’t say something nice” (2024), gouache and ink on two vintage postcards, 4 x 12 1/2 inches

      “Breaking In” (2015-2020), gouache on vintage postcard, 6 x 4 inches

      Detail of “Enough of Nature”

      “First Contact” (2023), gouache and ink on vintage postcard, 4 x 6 inches

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    • 163 Shares189 Views

      in Art

      Mandy Barker’s Cyanotypes Revive a Pioneering Botanist’s Book to Warn About Synthetic Debris

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      Jersey boxers (Gigartina sunday). All images from ‘Photographs of British Algae: Cyanotype Imperfections’ by Mandy Barker, published by GOST Books. All images © Mandy Barker, courtesy of the author and GOST, shared with permission

      Mandy Barker’s Cyanotypes Revive a Pioneering Botanist’s Book to Warn About Synthetic Debris

      March 18, 2025

      ArtBooksClimateNatureScience

      Kate Mothes

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      “In 2012, I found a piece of material in a rock pool that changed my life,” artist Mandy Barker says. “Mistaking this moving piece of cloth for seaweed started the recovery of synthetic clothing from around the coastline of Britain for the next ten years.”

      Barker is known for her photographic practice that takes a deep dive into marine debris. Her work has been featured in publications like National Geographic, The Guardian, VOGUE, and many more. Often collaborating with scientists to raise awareness about plastic pollution in the earth’s oceans, she eloquently highlights its harmful impacts on marine habitats, wildlife, and all of us who depend on the ocean for sustenance.

      Patterned blouse (Laminaria materia)

      Forthcoming from GOST Books, Photographs of British Algae: Cyanotype Imperfections surveys the unexpected and out-of-place along British shores. At first glance, each specimen appears like a fragment of a leaf or a scatter of organic material, but upon closer inspection, the subjects of Barker’s images reveal details of unraveled polyester or scraps of nylon tights.

      Barker hopes to raise awareness of the damaging effects of fast fashion, synthetic clothing, and the increasing amounts of microfibers in the oceans. The fashion industry is responsible for more greenhouse gas emissions than all international flights and container ships combined and is also the second-largest consumer of water, requiring about 2,000 gallons of water to produce a single pair of jeans.

      Barker’s new book is composed as an homage to the work of trailblazing botanist and photographer Anna Atkins (1799-1871), who is thought to be the first woman to take a photograph and the first person to publish a book containing photographic illustrations. Her 1843 study, Photographs of British Algae: Cyanotype Impressions, employed blue photograms to illustrate photosynthetic organisms and seaweeds.

      Barker’s work serves as a kind of sibling or sequel to Atkins’ pioneering publication, presented in a similar style with handwritten names in Latin beneath each specimen.

      Coat lining (Dichloria vestis)

      In their updated versions, the titles take Atkins’ scientific names as a starting point and tweak them just slightly to conjure references to clothing or the human body. In the plate titled “Dichloris vestis,” for example, Barker draws on a real type of algae Atkins catalogued, Dichloria viridis, but “vestis” is instead a tongue-in-cheek reference to outerwear, often made of polyester or other synthetic materials. “Conferva tibia,” which portrays frayed tights, employs the Latin word for “leg.”

      From John o’ Groats at the northernmost tip of Great Britain to Land’s End at its southernmost, Barker recovered specimens of clothing from more than 120 beaches. Her finds, ranging from parkas to wigs to sports jerseys, were pulled from the sand, tide pools, or directly from the sea. In Photographs of British Algae: Cyanotype Imperfections, Barker looks to the past to better understand how our actions in the present have both immediate impacts and will shape the future of the climate crisis.

      Find your copy on GOST’s online store, where signed editions are also available, and explore more of Barker’s work on her website and Instagram.

      Nylon tights (Conferva tibia)

      Shawl (Odonthalia amiculum), shown on a spread from ‘Photographs of British Algae: Cyanotype Imperfections’ by Mandy Barker

      Jacket lining (Rhodomenia ignotus)

      Fishnet tights (Chylocladia funda)

      Two Blouses (Asperococcus indusium)

      Synthetic fur hood (Myrionema Palliolum)

      Lining (with algae) (Grateloupia intra)

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    • 163 Shares189 Views

      in Art

      Paradise and Precarity Merge in Jessica Taylor Bellamy’s Paintings of Los Angeles Life

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      “American Airlines Passenger Ticket 1 (after Warhol)” (2023), oil on canvas, 32 x 59 inches

      Paradise and Precarity Merge in Jessica Taylor Bellamy’s Paintings of Los Angeles Life

      February 7, 2025

      ArtClimate

      Kate Mothes

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      For Jessica Taylor Bellamy, juxtapositions, transparency, and layers shape a way of working that evokes her family history and notions of home and landscape. Born to an Ashkenazi Jewish mother and an Afro-Cuban Jamaican father, Bellamy was raised in Whittier, just southeast of Los Angeles.

      In glowing oil paintings, she draws from personal mementos like photographs, sales receipts, and newspaper clippings to explore the relationships between utopia and dystopia, humans and nature, image and text, and fantasy and reality.

      “Did She Nail It?” (2025), oil on canvas, 26 x 20 inches

      Bellamy portrays sunsets, landscapes, trees, urban streets, flora, animals, and cloud formations in a kind of dreamy washiness, adding patterns like chainlink fences, gates, and lace curtains suggestive of boundaries. Horizontal landscapes overlaid with American Airlines tickets echo Andy Warhol’s 1960s silkscreen prints of SAS airline tickets merged with floral motifs.

      “Bellamy’s observations are rooted in her experiences of the sprawling urban landscape of Los Angeles—a meeting of nature and civilization at the edge of a precarious paradise, formed by fire, drought, flood, and wind,” says a statement from Anat Ebgi, which represents the artist and opens her new solo exhibition, Temperature Check.

      A few works shown here, like “Did She Nail It?,” appear in the show, which merges landscapes and atmospheric lighting effects with references to DIY culture, what’s gendered as “men’s work,” and car and motorcycle culture. The Home Depot receipt, which typically uses the slogan “Did we nail it?,” is combined with an image of a rear-view mirror depicted so close that it initially appears abstract.

      Bellamy examines the dualities and precarity of life in Southern California—a seeming paradise we’ve witnessed can be swiftly devastated by fire and drought. The title Temperature Change is also a double entendre, suggesting meteorological readings and a figurative expression used when measuring a group mood or opinion. Through surreal imagery and echoes of mass production and consumerism, the artist invokes a noir reverie.

      Temperature Check runs from February 8 to March 22 in Los Angeles. Find more on the artist’s website and Instagram.

      “Box Fan (AM)” (2025), oil on canvas, 57 1/2 x 32 inches

      “American Airlines Passenger Ticket 2 (after Warhol)” (2023), oil on canvas, 32 x 60 inches

      “Playa Larga (Coquina Combination Pill Pack)” (2023), oil on canvas, 23 3/4 x 42 1/2 inches

      “A Subspecies of Journalism” (2023), oil on canvas, 59 x 43 1/2 inches

      “A Splendid Paradox” (2022), oil on canvas, 70 x 52 inches

      “Curtain of Sky” (2024), oil on canvas, 57 1/2 x 48 inches

      “Horizontal Thrust I (Blue graffiti highway)” (2025), oil on canvas, 26 x 70 inches

      “Driveway Moment” (2025), oil on canvas, 57 1/2 x 47 inches

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    • 138 Shares189 Views

      in Art

      Elemental Shifts and Enigmatic Narratives Anchor Rupy C. Tut’s Mystical Paintings

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      “A River of Dreams” (2024), handmade pigments on linen, 62 x 42 1/4 x 2 inches framed. Photos by Phillip Maisel. All images courtesy of the artist and Jessica Silverman, San Francisco

      Elemental Shifts and Enigmatic Narratives Anchor Rupy C. Tut’s Mystical Paintings

      February 3, 2025

      ArtClimateSocial Issues

      Kate Mothes

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      Verdant scenery inhabited by vibrant wildlife and graceful feminine figures center in the work of Rupy C. Tut, whose paintings (previously) draw upon her Sikh ancestry and experiences emigrating from India as a young girl. “As an environmentalist and Indian-American woman, she never takes place for granted,” says a statement from Jessica Silverman Gallery, which represents the artist.

      Tut’s ethereal works tread the boundaries between abstraction, portraiture, pattern, and traditional Indian painting. Her compositions introduce narratives—often captivatingly mysterious—that highlight enigmatic mystical, elemental, and spiritual phenomena.

      “Bursting with Clouds” (2024) handmade pigments on linen, 41 1/2 x 61 1/2 x 2 1/4 inches framed

      The artist’s subjects typically exist front-and-center, like in “A River of Dreams,” in which a figure sits in a stream and observes a lily while dark clouds move in above. Motifs of darkening skies and dramatic change continue in recent works like “Bursting with Clouds” and “The First Rain.”

      Oscillating between idyllic paradises, anxieties around climate disasters, and gender constraints, Tut focuses on female figures, turning the tables on a genre that typically focuses on male achievements. “I question traditional roles and labels while preserving traditional practices,” she says.

      Tut was a 2024 recipient of the Joan Mitchel Foundation Fellowship, and her work is on view in the group exhibition About Place at San Francisco’s de Young through the end of November. You can explore more on her website and Instagram.

      “A Place Dear to Me” (2024), handmade pigments on linen, 61 1/2 x 41 1/2 x 2 1/4 inches framed

      “The First Rain” (2024), handmade pigments on linen, 61 1/2 x 41 1/2 x 2 1/4 inches framed

      “Riding my Thunder” (2024), handmade pigments on linen, 61 1/2 x 41 1/2 x 2 inches framed

      “Where Dreams Flow” (2024), handmade pigments on linen, 42 1/8 x 82 x 2 inches framed

      “Bowing to the Cosmos” (2024), handmade pigments on linen, 61 3/8 x 41 5/8 x 2 inches framed

      “Archipelago” (2024), handmade pigments on linen; diptych, 61 1/2 x 83 x 2 1/4 inches overall, framed

      “Escaping the Heat” (2024), handmade pigments on hemp paper, 13 3/4 x 18 3/8 x 1 1/2 inches framed

      “A Natural Thought” (2025), handmade pigments on linen, 81 1/2 x 41 1/2 x 2 inches framed

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    • 138 Shares109 Views

      in Art

      Dinosaurs Overrun a World Post Climate Disaster in Michael Kerbow’s Paintings

      by

      “Late Capitalism.” All images © Michael Kerbow, shared with permission

      Dinosaurs Overrun a World Post Climate Disaster in Michael Kerbow’s Paintings

      January 17, 2025

      ArtClimateNature

      Jackie Andres

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      After ending another year of record-breaking climate statistics, we stand at the precipice of 2025, which has already revealed its own devastating challenges. As the window for meaningful change continues to narrow during the next several years, we’re left to wonder what the world might look like if we stay on this path. Through the lens of hyper-consumerism, San Francisco-based artist Michael Kerbow (previously) envisions the future in his wry and imaginative landscape paintings.

      Swarming decayed gas station roofs, perching atop abandoned vehicles in forests, and sauntering past crumbling highways and fast food joints, the dinosaurs in Kerbow’s paintings govern a world overrun by the effects of late-stage capitalism. Hints of climate devastation reveal themselves through small details in the background, such as volcano eruptions, dense, hazy skies, and pools of floodwater.

      “Bypass”

      Kerbow scatters familiar signage and advertisements from recognizable chains within his scenes to introduce humor and make his work more approachable. However, the artist emphasizes the gravity of the issue at hand:

      We like to believe everything we currently have will always be there for us, but I suspect it could just as easily fall apart and slip away.  I try to stay optimistic about the future, but the truth is I am troubled by where I see things appear to be headed, specifically with the health of our ecosystem. Each passing year seems to bring more alarming statistics, and this comfortable place we call home seems to grow more precarious.  It is sobering to consider my artwork as foreshadowing a future reality.

      As Kerbow continues to make new paintings, you can follow along on Instagram and see his website for more.

      “Adaptive Reuse”

      “Vestige (Golden Arches)”

      “Black Monday”

      “Highwater”

      “Glade”

      “Economic Decline”

      “Siren Song”

      “Shadowplay”

      “Oasis”

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    • 113 Shares169 Views

      in Art

      Endless Fields of Detritus Blanket Cássio Vasconcellos’s Aerial Composites

      by

      Detail of “Air Force.” All images courtesy of Cássio Vasconcellos and Nara Roesler Gallery, shared with permission

      Endless Fields of Detritus Blanket Cássio Vasconcellos’s Aerial Composites

      November 12, 2024

      ArtClimatePhotography

      Kate Mothes

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      Where do jets go when they no longer fly? What happens to shipping containers when they aren’t useful anymore for cargo? The answer is invisible to most of us, but for Cássio Vasconcellos, abandoned trains, planes, and automobiles are far from forgotten.

      For more than four decades, the São Paolo-based artist has been fascinated by the relationship between humans and the landscape. Over the years, his work has captured dramatic impressions of sprawling cities around the globe, often from the air, spurring an ongoing series called Collectives that condenses details of urban infrastructure like highways and parking lots into sprawling, all-over compositions.

      “Collective 11: Airplanes”

      Collectives 2, to which these images belong, focuses solely on the mesmerizing—and mind-boggling—quantity of scrapped vehicles and metal indefinitely parked in nondescript places. Vasconcellos draws from tens of thousands of aerial photographs he has made of junkyards, scrap heaps, airplane graveyards, and dumps to create remarkable, large-scale composite images.

      The artist has mapped all of the junkyards around São Paolo, plus numerous more near the Brazilian cities of Cubatão, Santos, and Rio de Janeiro. He has also documented desert landscapes in the U.S. that serve as final resting places for commercial airliners and military jets.

      “Over,” for example, considers numerous associated meanings, like “overview,” “all-over,” “overdose,” or “game over.” The title references not only excess but the overflow of visual information in contemporary society.

      “Seeing an image like this is to make clear that there is no ‘throw away,’” Vasconcellos says in a video about “OVER,” which took him about a year and three months to complete. “This volume of things that are in the work… they are out there,” he adds. “I just put them together.”

      Detail of “Over”

      “These photos may look like post-apocalyptic scenarios, but they could be our future,” the artist says in a statement. “We still have to learn that by throwing things away and taking them out of our sight, we don’t make themdisappear. In fact, they keep existing somewhere else, outliving us mostof the time.”

      Vasconcellos cuts out individual shipping containers, trucks, dumpsters, and piles of detritus in a meticulous and time-consuming digital process. He never repeats an element in a composition, and each piece is scaled and situated so that the shadows align with the directionality of the light. He then adds dust and dirt to the surfaces, simultaneously emphasizing the patina of time and an eerie sense of timelessness.

      Devoid of people, Vasconcellos’s images nevertheless describe the human predilection to produce, consume, and cast aside. “It’s kind of nonsense, because there are some paths, but you don’t really understand how a person or a car can get in there—or get out,” Vasconcellos says. “It is a possible world, but at the same time, an absurd one.”

      Vasconcellos is represented by Nara Roesler Gallery, and you can explore more of his work on his website and Instagram.

      “Collective 12: Boats”

      “Collective 10: Containers”

      “Air Force”

      “Collective 7: Metal Scrap”

      Detail of “Collective 7: Metal Scrap”

      “Collective 9: Scrap Dumpster”

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